Christian Symbols Research Articles

The Buried Mirror of American Islamic History

American Religion 2, no. 1 (Fall 2020), pp. 18–23 Copyright © 2020, The Trustees of Indiana University • doi: 10.2979/amerreli.2.1.05 The Buried Mirror of American Islamic History Edward E. Curtis IV Indiana University School of Liberal Arts, Indianapolis, USA Joe Hassan Chamie, born in 1887 in Ottoman Syria, arrived in South Dakota in 1903. Several years later, as the United States prepared to enter World War I, he registered for the draft.1 He also declared his intention to become a US citizen, and a 1918 change in US law meant that, by serving in the military, his wish would be granted. On July 2, Chamie was made a citizen at Camp Merritt in Bergen, New Jersey.2 On July 6, just a few days later, Private Chamie shipped out on the Scotian from New York as part of Company “I”, 361st Infantry, 91st Division of the American Expeditionary Forces.3 According to the Red Cross, Private Chamie was wounded in battle on September 29. Just three days before, the 91st Division had begun its assault on the German army as part of the Meuse-Argonne Offensive. The 361st Infantry, like other units, was charged with trying to take German trenches. The problem was that in order to do so, soldiers had to traverse “several hundred yards of mud, debris, shell holes, tangle foot and concertina wire” as they charged German 1 South Dakota, State Census, 1915, US, World War I Draft Registration Cards, 1917– 1918, www.ancestry.com. 2 US, World War I Soldier Naturalizations, 1918, www.ancestry.com. 3 Lists of Outgoing Passengers, 1917–1938, www.ancestry.com. Edward E. Curtis IV 19 machine gun nests.4 Private Chamie was hit in the leg. He received care at an American hospital, but it may have taken some time before he was given medical attention. Because of a German artillery barrage, it was impossible to evacuate all of the wounded until September 30. Chamie did not recover. According to his grave marker, he died on Oct. 17, 1918. He was “buried with full military honors,” wrote Genevieve Swezey, Red Cross casualty searcher. “The coffin was covered with the American flag and flowers given by the American Red Cross were placed on the grave. After the chaplain had read the prayers the firing squad fired three volleys and the bugler sounded the last ‘taps’ while all the soldiers present stood at salute.” His burial place is the Meuse-Argonne American Cemetery, located near Romagne-sousMontfaucon . “The spot seems an ideal one for our American boys, who have fought so bravely in this world war for democracy,” Swezey wrote. “He was laid to rest with others, who also had made the supreme sacrifice.”5 Such memorialization placed a Syrian Muslim at heart of the US American story, interpreting the spilling of his blood as a sacrifice that made the life of the nation possible. Even as his body was laid to rest in foreign soil, his memory was repatriated in his new nation. The public recognition of this Syrian Muslim’s sacrifice for America was not seen in Sioux Falls as the act of an outsider. Joe Chamie was one of “our boys.” Except for one thing. As the dead were buried, all service members except for Jews received a Christian cross as their grave marker (fig. 1). The US Army did not allow service members to identify as Muslim. To this day Joe Chamie’s body is buried underneath a cross.6 But Joe Chamie was a Muslim. He grew up in a Muslim family, his next of kin was either living with or was one of the most prominent Muslims in Sioux Falls, and in 1915, he told the South Dakota Census that he was “Mohammedan.” No one passing by his grave today would know that. The fact that Joe Chamie’s body lies under this Christian symbol erases his Muslim identity from the archive of American religious studies. He is not alone. One of the reasons why Islam has not always counted as American 4 “The Meuse Argonne Offensive,” National Archives, https://www.archives.gov/research /military/ww1/meuse-argonne; “91st Division American Expeditionary...

Harry Potter and Beyond: On J. K. Rowling’s Fantasies and Other Fictions by Tison Pugh

Reviewed by: Harry Potter and Beyond: On J. K. Rowling’s Fantasies and Other Fictions by Tison Pugh Michele D. Castleman (bio) Harry Potter and Beyond: On J. K. Rowling’s Fantasies and Other Fictions. By Tison Pugh. University of South Carolina Press, 2020. One of the strengths of Pugh’s Harry Potter and Beyond is clear in its title: Pugh not only considers Rowling’s Harry Potter series in his monograph, but also examines the author’s online [End Page 410] presence, and her adult novels The Casual Vacancy (2012) and the Robert Galbraith murder mysteries. Pugh frames his analysis using the hybridizations of genres throughout Rowling’s writings. He devotes chapters to her use of the characteristics of fantasy, school stories, bildungsroman, mystery, and allegory, and argues that Rowling “has created a fresh, hybrid form of literature that takes advantage of the narrative potential of intersecting aesthetic traditions” (19). Pugh’s introduction begins with a biography of Rowling in which he deconstructs the “rags to riches” or fairy tale lenses that are often applied to her rise as a popular author and cultural icon. He notes the ways her political assertions are represented among her novels and considers the maturation of her characters and how these aspects prevent categorizing her Harry Potter series solely as young adult or children’s literature. “The Fantasy Foundations of the Harry Potter Novels” draws attention to the hero’s journey (most commonly associated with Joseph Campbell). Pugh focuses upon Rowling’s implementation of this journey and its impact upon how gender is depicted throughout the Harry Potter series. Pugh argues Rowling depicted Harry as being more masculine than his friend Ron and asserts the use of the hero’s journey detracted from allowing female characters to take more central or active roles in the narrative. This chapter also focuses upon the influence fairy-tale motifs and Arthurian and chivalric romances have upon the series. In “Hogwarts and the School Story Tradition,” Pugh examines the school story influences that pre-date Hughes’s Tom Brown’s Schooldays, arguing that Hughes was “scarcely the discoverer of unknown literature territory” (37). This stance represents a departure from other Harry Potter scholarly collections that have looked at the school story elements within the Harry Potter series. The examination of the school story’s characteristics challenges Rowling’s characterization of the Weasley family as living in poverty and describes how Harry embodies the invisible and valued middle class. Pugh then addresses how Rowling has re-envisioned Hermione’s ethnicity retroactively (also referred to as retconning). He asserts this retconning allows Rowling “to claim a greater multiculturalism for her series at the same time it refutes . . . the series’ predominant whiteness” (48). The following chapter, “Harry Potter’s Adolescence and the Bildungsroman Tradition,” furthers the critique of how Rowling depicted multiculturalism at Hogwarts by discussing ethical quandaries within the series, including the segregation of species, the enslavement of house elves, and Harry’s use of unforgivable curses. Chapter 4 examines how Rowling adheres to or ignores tropes of detective stories with particular attention to Harry Potter and the Chamber of Secrets (1999) and Harry Potter and the Goblet of Fire (2000), while chapter 5 explores the allegories of good and evil throughout the Harry Potter series, focusing upon allusions to World War II and Christian symbols of sacrifice and salvation. [End Page 411] “The Evolving Harry Potter Canon” includes descriptions of the two Fantastic Beasts movies; the play, Cursed Child; the materials on Rowling’s websites Pottermore.com and JKRowling.com; and her comments on Twitter. Generally, Pugh focuses less upon analysis in this chapter, but he still questions what should or should not be counted as canon when it comes to Rowling’s writing and influence. He briefly discusses the homoerotic relationship between Scorpius Malfoy and Albus Potter in Cursed Child, and the colonialist approach to Rowling’s descriptions of wizarding schools in the United States of America and Uganda. Pugh also briefly explores fan response to Rowling’s more recent work, noting how fans often use their preferred medium “to address and correct what they perceive as the series’ limitations” (106). The chapter “Out of the Wizarding...

ФЕНОМЕН ВОЙНЫ В ЭСТЕТИКЕ И ХУДОЖЕСТВЕННОМ ТВОРЧЕСТВЕ Н. С. ГУМИЛЕВА

This article shows the genesis of N. S. Gumilyov's worldview through the analysis of his works, in which the poet comprehends the theme of war. The initial enthusiastic perception of war is explained by the poet's adherence to the adamistic concept of peace. The article reveals the main ideas of this concept. The authors assume that it essentially resembles the phenomenological reduction of E. Husserl, since the «new Adams» advocated the cleansing of man from the alluvial crust of «reflections and doubts». The change in the attitude of N. Gumilyov's approach to World War I and, as a result, the transformation of its artistic image in his poems and prose, is motivated by the poet's collision with reality and the realization that war, regardless of its nature and the reasons that caused it, is terrible in principle, since it takes human lives. As a result of changes in the perception of war in general and the transformation of Christian symbols in military lyrics: if in verses the military «cycle» it shows the faith of the author in a war in God's path, the path of transformation of man, and hence the world, then later heard the idea that instead of God in the soul of man there is godlessness, the war made a violent man, deprived of faith. Consequently, in the later poems of the military «cycle», N. S. Gumilyov's rejection of the adamistic concept of war is obvious.

Естетизація християнського етичного ідеалу в казці О. Вайльда «Щасливий принц»

The paper explores the problem of the relationship between the ideas of aesthetics and the Christian doctrine of active love in the famous tale written by O. Wilde. The research which emphasizes the Christian basis of the author's outlook became the methodological basis of the present study on the background of a detailed analysis of various assessments of the writer's position, interpreted as an immoral aesthete and as a supporter of socialist ideas or a recipient of ideas of ancient philosophy of spiritual beauty. The study proves this in detail, analyzing the plot and figurative solutions of the fairy tale «Happy Prince», taking into account the traditional Christian symbols. Thus, the image of the Prince-Statue, decorated with gold and precious stones, is interpreted as a symbol of Christ, who gives his splendor and power to save the poor. It is also reminiscent of the words of Christ, who tells a young rich man who seeks perfection to sell his wealth and give money to the poor. The very values of the earthly world, gold and precious stones, luxurious things made of them, are transparently interpreted in an ironically reduced tone. The confirmation of the fact that the aestheticization of being yields to the hidden spiritual greatness of Christian love and self-sacrifice is also that that the values of the earthly world, gold and precious stones are transparently interpreted in an ironic tone in the fairy tale. The swallow, being the ancient symbol of the Renaissance, this bird was lured by the perishable beauty of idols and tombs of Egypt, the biblical symbol of captivity. The swallow finds its purpose in the service of the Prince, scattering his precious clothes to the poor. And here the ethical criterion turns out to be higher than the aesthetic one. They are not rewarded on the Earth: the bird dies of the cold, and the remains of an unpresentable statue of the prince are demolished, the decisive word to belong to the professor of aesthetics. However, the angel of God brings the most precious things he has found in this city to the heavenly palaces of the Lord: the tin heart of the Prince, torn by grief, and a dead bird. By analyzing the writer's ideological system with implicit implications, Wilde's position is quite obvious: despite his apparent admiration for the aesthetics of beauty, the writer rejects ultimately the doctrine of aesthetics and exalts Christian values, setting out his concept in the style of a parable.

Is the Virgin Mary blessed? Revisiting Christian symbolism in three of J. D. Salinger’s short stories

Is the Virgin Mary blessed? Revisiting Christian symbolism in three of J. D. Salinger’s short stories

Christian Symbolism of Color in the Middle Ages in the Context of a New Concept of the Symbol as a Hypermark

The article focuses on systematic research of Christian colour symbols as well as upon definition of symbol as a hyper sign which represents certain concepts, ideas or phenomena accepted in some communities. It was pointed out that colours as super symbols, which are realized through certain images (visions), pictures and clothes or even through a word, accepted symbolic use typical for Christianity. It was also proved that in Middle Ages colour defined status in clothes and its depicting in literature. At the same time colour was an expressive characteristic for dynamic liturgy as a complicated dynamic system of different signs (images-icons, symbols and indexes). In general symbols were defined as complicated cultural phenomena depending upon both individual interpretation and upon the level of cultural stereotypes.

Sfera sacrum w Cronaca del Luogo Luciana Beria

One can point to numerous manifestations of the sphere of sacrum in Luciano Berio’s stage works. It is created in the works of the Italian artist through the use of Christian symbolism, or that associated with the Judeo-Christian tradition, as in the case of Cronaca del Luogo (1999). The sphere of sacrum in Berio’s last stage work is created through such means as intertextual references to the Holy Writ, rabbinic and apocryphal literature and, linked to the creation of specific locations of the action – the space of sacred place, the palace and a Jewish cemetery. Even the title of the work points to the link between the work and the sphere of sacrum, and between the sphere of sacrum and the symbolism of space. This article will present an interpretation of these „imagined worlds” linked to the sphere of sacrum, created by the relationship between words, sounds and images, on the boundary between the space of the „wall” of Salzburg’s Felsen-reitschule, where the work had its premiere, and the imagination of its creators and audiences.

SIGNIFYING RELIGION IN SYMBOL: LOOKING UP THE RISE OF INDONESIAN RED CRESCENT (BSMI) IN PUBLIC LIFE

In the beginning, the surface of BSMI problematizes the red symbol that was used by PMI because it was analyzed as a Christian symbol, feeling hesitant when used as a cross symbol in humanitarian missions is the basic reason as their appearance of religiosities in public life. Talking about the symbol, the crescent has a long history of how it can be “identified” as a symbol of Islam and how the people identified those as an identity of the religion by signifying sacred behind the symbol. The symbolization of religion cannot be separated from the method of semiotic approach where explains the science of sign. Through this sign, people can find their identity and communicatewith each other as social interaction and also find a sacred behind the symbol. For the last theory, I would use the social movement and development that indicate the turn organization not only happen in the case of philanthropy but also will eradicate to the other social application movement. Therefore, in my opinion, the surface of BSMI cannot be rid by the development of crescent symbol interpretation as a symbolization of religious identity due to symbolism as a way to communicate and interact with society

The Responses Of Antakya (Antioch) Churches To Cultural Shifts

Antakya (Antioch), located in the southern region of Turkey, is one of the oldest settlements in the country. Its history dates back to the prehistoric times. It has been through countless invasions throughout its history. It has been dominated by various civilizations and has been the center of many religions. The city, which was founded by Alexander the Great in the Roman period, has many routes to nearly all directions as a result of its geographical location. Due to its context, this makes the city the point of convergence of cultures. After the Roman period, Byzantine and Arab-dominated city (AC 395 — AC 963), were exposed to constant war between the Christian and Muslim communities for the domination right to the city. Today in Antakya, although the majority of the population is Muslim and Christian, the Sunni Arabs, Sunni Turks, Shia Arabs, Assyrians, Catholics, Orthodox Christians, Protestant Arabs, Arabs, Armenians, Jewish people and other minority groups all live together in harmony, thus forming the dynamics of multicultural city structure. The name “Christian” was first coined in this historic city. Antakya also hosts the Church of Saint Peter, which is believed to be one of the earliest Christian houses of worship, making it extremely valuable for Christianism. Indigenous inhabitants of Antakya have lived in the same land since the foundation of Christianity. Today, 90 percent of the Christians are Orthodox, 10 percent are Protestants and other believers, where the population of Christians are decreasing. Bearing in mind the aforementioned history and context, a research was conducted on the Orthodox Church, Antakya Protestant Church and Vakıflı Armenian Church which all still exist to this day in the city. Purpose of the research is to evaluate the structure of the churches in regards to the following parameters;- The responses of the churches to the indigenous inhabitants- Cultural shifts in the ever-changing sociocultural values of the society- The city image they present.The reason behind choosing these three structures for the study is the fact that all three structures boast Christian symbolism and imagery.

American Legion v. The American Humanist Association and the Bladensburg Cross: Implications for Education

In American Legion v. American Humanist Association the Supreme Court rejected a challenge to the presence of the Bladensburg Peace Cross situated on a public intersection in Bladensburg, Maryland. Residents of Prince George’s County, Maryland, had the cross erected to commemorate the 49 soldiers from their communities who died during World War I. The Court ruled that the display of the cross did not violate the Establishment Clause because while it is undeniably a Christian symbol, it was erected almost a century ago to honor the county’s war dead, it took on a special secular significance to community members.

Evidence Relating to the Christian Missions in the Trans-Urals and Northwestern Siberia (8th to 16th centuries)

This study addresses the possible activity of early Christian missions among the Vogul (Mansi) of the Urals, Trans-Urals, and northwestern Siberia between the 8th–16th centuries. Three stages in their history are described. The fi rst (700–1000 AD) was marked by the import of southwestern Central Asian silver dishes (diskoi) reproducing biblical themes and Christian symbols. Specimens from Grigorovskoye, Anikovskoye, and from the Malaya Ob had been cast in Nestorian communities of Semirechye. The imported diskoi gave rise to the tradition of offering food to deities on metal dishes. The second stage (1200–1400 AD) began when silver plaques depicting the famous theme of icon painting (“The feat of the Martyr Demetrius of Solun defeating King Kaloyan of Bulgaria”) had been imported to the region. The third stage (15th and 16th centuries) correlates with the Russian expansion to Siberia and attempts to baptize the natives. At the ceremony, baptismal symbols such as tin plaques were given to the neophytes. Apparently, most plaques represent the biblical King David and were manufactured by Russians in the late 1400s to early 1500s. In the 16th century, plaques with the fi gure of St. George appeared in Siberia. The analysis of items showing biblical and hagiographical characters and of their distribution in northwestern Siberia suggests that Christian missions were unable to oust paganism from the region. Russian religious items were used in native rituals mostly if they represented horsemen, because these seemed to allude to the son of the Ob Ugric supreme deity Mir-Susne-Khum, also depicted as a horseman.

Lost in Revision: Gender Symbolism in Vision 3 and Similitude 9 of the Shepherd of Hermas

AbstractThis article investigates the early development of gendered Christian symbolism by focusing on discrepancies between two sections of the Shepherd of Hermas. Using close textual analysis and contemporary feminist theological frameworks, I identify the seemingly subtle, yet crucial and conspicuous, transformations of gender symbolism in the revision of Vision 3 into Similitude 9. These transformations include replacing the feminine Church with the Shepherd, the Tower, and the Son of God; dividing seven women (Faith and her genealogical descendants) into twelve virgins and their twelve vicious counterparts; and erasing “waters” and “the deep” from the Church’s foundation, while emphasizing tall rocks and level ground. Scholars typically have considered these revisions to be products of deeper and more systematic theological reflection, or mere elaborations and expansions in a “literary unity” drawn from oral composition. I argue instead that the revisions are rooted in embedded cultural patterns that consistently exclude maternal figures and their associated imagery. This re-evaluation of the revision process in Hermas complements other approaches to studying women in early Christian history, supplying a critical account of the evolving conceptual and symbolic structures that supported declines in the ecclesiastical status and symbolic significance of women.

Orthodoxy – the symbolic language of the drama July by Ivan Vyrypaev

Aim. The aim of the paper is to interpret and analyse Orthodox symbols through the prism of the Orthodox theology.
 Methods. The senses of the Orthodox symbolism as proposed by the artist are not always compliant with Orthodox doctrine. Therefore, in order to fully understand the sense of Ivan Vyrypaev’s drama, it is necessary to first decode the Orthodox symbols that make up the language of the work discussed. For this reason, the major Orthodox symbols occurring in July will be listed at the very beginning of the paper. Then, they will be discussed in the context of the Orthodox theology as well as the artist’s own words. This task will contribute to the decoding of the language of I. Vyrypaev’s work.
 Results. According to I. Vyrypaev, the cruelty of a patient of the Smolensk madhouse is an inverted hierarchy of values which at the same time serves as his path of inquiry. On the other hand, the superficial attitudes, such as good, culture, humanitarianism, liberal values or democracy are obstacles (demons) which he has to overcome in order to find himself and God. The Orthodox symbols in July are allegories by means of which the author wants to show the main hero’s path to the truth. Furthermore, a justification for this way of thinking is one of the mottos that I. Vyrypaev included in July.
 Conclusions. In the drama July, I. Vyrypaev utilised the following sacral symbols: the theological significance of the Church in the Orthodox faith, the idea of communality, the concept of Orthodox humility as well as the idea of deification and martyrdom. The threads of the Orthodox symbolism used by I. Vyrypaev are superficial and should not be interpreted literally. The author consciously inverts the hierarchy of the Orthodox symbols in his work in order to show the bewilderment and corruption of the modern society. In the drama July I. Vyrypaev is more focused on being inspired by the Orthodox culture than on closely reflecting its senses. The symbolism of the altar and the ideas of martyrdom as applied in July are similar to the Christian symbols in the Roman Catholic approach.

Religion in Domestic Violence Prevention PSAs: The Role of Religiosity in Motivating Christian Bystanders to Intervene

AbstractDomestic violence is an ongoing health issue around the world, propelling individuals and organizations to seek out new and innovative ways to mitigate its widespread reach. Focusing on the potential of religion to positively impact messaging, the current study examines how Christian symbolism might be used to encourage intervention behavior using public service announcements (PSAs). Using a between‐subjects design of Christian Americans as the respondent pool, a religious symbol versus a control ad was utilized. Levels of religiosity were also measured and factors impacting the construct assessed. Findings revealed religiosity, the importance of religion in one's life, was the underlying motivator for highly religious people to act rather than a religious cue. Within religiosity, the perceived strength of faith to one's identity held greater value than church attendance and frequency of prayer. Theoretical implications are discussed as well as insights for people working in public service messaging.

An Origenian Background for theLetter to Theodore

AbstractTheLetter to Theodoremay need to be reattributed to Origen of Alexandria. Many of its features seem demonstrably Origenian, and its language aligns with early Christian and Origenian usage. Two noncanonical gospel fragments in the letter do not betray a modern author, but rather evoke early Christian symbolism and narrative structure. The single garment worn by a character in the first fragment reflects Christian symbolism and resembles the philosopher’s garment, which many early Christians adopted and portrayed in material artifacts. Origen’s intellectual interests can explain the letter’s preparation for philosophical exegesis, and its language reflects his text-critical practice. Nevertheless, Origen’s circumstances indicate the text of the noncanonical gospel fragments is unreliable. The letter also echoes Papias in the manner that Origen does. Morton Smith’s account of its discovery does not betray a forgery or hoax, but plausibly depends on other nonfiction works of manuscript discoveries written during the 1960s. Further work may be needed to secure attribution, but Origenian authorship is a simpler explanation of the evidence than modern forgery.

Гра в бога vs гра в людину: пост/гуманізм від Філіпа Діка до Дені Вільнева

The purpose of the paper is to follow the changes in the view on the android (i.e., the copy, the simulacrum of the human, the metaphor of the Other, which provides us with better understanding of the basics of our humanity) during half a century using the example of the novel “Do Androids Dream of Electric Sheep?” (1968) by Philip Kindred Dick, an American science fiction writer, and the movies based on his work: Ridley Scott’s “Blade Runner” (1982) and its sequel “Blade Runner2049” (2017), shot by Denis Villeneuve. The main methods are an original comparative analysis of these works in the context of the problems of humanism and posthumanism and the mythopoetic approach to the study of the Christian symbolism of the novel and its film adaptations. The author concludes that the writer and film directors are aware of the responsibility of mankind for trying to play the role of God and that they all prefer humanism, that is focusing on the ideals of anthropocentrism, rather than striving for a radical transformation of human nature and culture associated with posthumanism and transhumanism. The paper involves deep intertextual connections and shows in detail how Frankenstein story of the book becomes Pinocchio story in the movies. Consequently, it suggests prospects for studying the aesthetics of “new physicality”, the problems of hyperreality and its reflection in science fiction, etc.

Біблійныя матывы і сімвалы ў польскамоўнай паэзіі Беларусі ХІХ стагоддзя

<p>W artykule podjęto temat rozwoju poezji religijnej w polskojęzycznej literaturze białoruskiej XIX w. Analizie poddano sposoby interpretacji motywów biblijnych w twórczości Tadeusza Łady- Zabłockiego, Jana Czeczota, Gabrieli Puzyniny, Władysława Syrokomli, uwzględniając przy tym swoiste oddziaływanie romantyzmu na wymienionych twórców. Tekst Łady-Załockiego Żale Jeremiasza przedstawiono jako parafrazę psalmu 137 (w tradycji wschodniochrześcijańskiej – 136). Zwrócono uwagę na cykl religijnych wierszy Czeczota z tomu Pieśni ziemianina, który dotychczas nie był przedmiotem zainteresowania białoruskich naukowców. Utwory poety wzorowane na listach apostoła Pawła odczytano jako poetycką interpretację przykazań i cnót chrześcijańskich, co pozwoliło sformułować tezę o swoistym „katechizmie” poetyckim Czeczota. Porównanie motywów biblijnych w twórczości Puzyniny i Syrokomli pokazało bliskość asocjacyjną autorów, poszukujących niebanalnych metafor i dążących do nadania nowych znaczeń symbolom chrześcijańskim, takim jak: dzwon, krzyż, kościół, kleryk. Autorka artykułu dochodzi do wniosku, że w literaturze romantycznej, zwłaszcza w poezji, wzrasta zainteresowanie psalmami jako gatunkiem oraz zapisaną w nich symboliką biblijną. Odwołania do motywów biblijnych pomagają poetom wyrażać uczucia patriotyczne, sakralizować je, eksponować ideę wolności. Poezja religijna badanego okresu pełni funkcje dydaktyczne, przybierając postać swoistego „świeckiego apostolstwa”. Można zatem mówić o poetyckiej pedagogice chrześcijańskiej, której zasady egzegezy i katechezy oparte są na wzorach zaczerpniętych z historii narodowej.</p>

Not the Same Old Story: Dante’s Re-Telling of The Odyssey

Dante’s Divine Comedy is frequently taught in core curriculum programs, but the mixture of classical and Christian symbols can be confusing to contemporary students. In teaching Dante, it is helpful for students to understand the concept of noumenal truth that underlies the symbol. In re-telling the Ulysses’ myth in Canto XXVI of The Inferno, Dante reveals that the details of the narrative are secondary to the spiritual truth he wishes to convey. Dante changes Ulysses’ quest for home and reunification with family in the Homeric account to a failed quest for knowledge without divine guidance that results in Ulysses’ destruction.

Fingerringe mit christlicher Symbolik der zweiten Hälfte des 6. und 7. Jhs. von der Krim

Finger Rings from Crimea with Christian Symbols in the Second Half of the 6th and 7th Centuries Finger rings with Christian symbols were popular during the second half of 6th–7th centuries in the Crimea; these were imported from Byzantium and produced in local workshops using imported patterns. They are represented by four types: I – with the image of the cross; II – with the inscription “ΦΩС ΖΩΗ”; III – with the image of an angel / archangel; IV – with the image of the holy rider. The silver finger rings of types Ia, Ib and II undoubtedly belong to Byzantine products; the same is true for bronze products of types Ic and IIIa. Most likely, the rings with the formula “ΦΩС ΖΩΗ” were made in the jewelry workshops of Constantinople along with objects of the Christian cult, which bore the same inscription. The bronze rings of types IIIb and IV, on the plates of which the images of the holy rider or archangel are carved, were made by local craftsmen using Byzantine patterns. Finger rings from the Crimea with Christian symbols belonged to male soldiers and young women of high social status. Most of the rings came from female burials. In general women wore them around their hands, around the right index finger and in breast necklaces connecting fibulae. Ancient Christians believed that Christian symbols and plots on a rings shield would have the attributes of an amulet protecting the wearer from all kinds of misfortunes. Archaeologists allocate finger rings to the category of “small” finds. These “small” and often nondescript objects, however, are tangible reminders of people who once lived, thought, felt, asked for healing and sought protection from higher powers. The study of finger rings allows us not only to expand our knowledge of the jewelry that existed in the early Middle Ages, but also adds to our knowledge of daily life and the beliefs of the inhabitants of Crimea in the early Middle Ages. Such findings demonstrate the unity of culture in the Christian world and are a vivid example of the close economic and cultural ties of the Crimea with the Byzantine Empire in the early Middle Ages.

Источники по титульной геральдике Московского царства второй половины XVII в.

An important stage in creation and unification of title emblems of Muscovy is connected with the war between Russia and the Polish–Lithuanian Commonwealth and further changes of the title during the reign of Tsar Alexei Mikhailovich. At the turn of 1660s-1670s, a number of new title emblems appeared, while the old ones underwent yet another transformation. When creating new emblems, the Western European models were considered and in some ways the title emblems acquired a more pronounced heraldic character. Thus, some new emblems could have originated in the heraldry of the Scandinavian countries and the Holy Roman Empire, other, such as the Siberian coat of arms, combined heraldic symbols of the regions in the aggregate. In a number of earlier emblems Christian semantics were reinforced. Such Christian symbols as hand emerging from clouds, cross, gospel, banner with cross, etc. were added. Christian semantics of the titular heraldry are evident in the heraldic virsi (verses) written at the end of the reign of Alexei Mikhailovich. Despite the fact that the finished complex of title emblems was presented in the “Titulyarnik” of 1672, the old or different versions persisted, which proves the variable nature of title heraldry in the second half of the 17th century. Images of the title coats of arms in three illustrated copies of the “Titulyarnik” display unity, but some differences in detail allow to work out ownership of each copy. “Titulyarnik” was probably the first Russian land coat of arms, even if images of title coats of arms on some regals (saadaks, plates) still retained features of the old visual tradition. The existing complex of the title coats of arms was recorded in the late 17th century in several written sources with heraldic images. The complex of preserved heraldic sources allows to reconstruct the history of the title heraldry in Muscovy in its entirety and to identify main stages in its evolution.